December 8, 2025 • 46 mins
It's time to head to Fleet Street for a bloody good time!
Yes, Kevin and Jenna are reviewing the big-screen musical "Sweeney Todd: The Demon Barber of Fleet Street." They dive into the performances, their thoughts on Johnny Depp's casting, their reactions to the gory scenes, and how some of the stage magic gets lost in translation on the big screen. Plus, their favorite song from the film, Kevin's pet peeve with the vocals, and the actor they feel ate up every scene!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
And that's what you really missed with Jenna.
Speaker 2 (00:04):
And Kevin An iHeartRadio podcast.
Speaker 1 (00:09):
Welcome to you, and that's what your really miss podcast.
It's Sweeney Day Love some Time. This is Yeah, there's
a lot to this one. Sweeney Todd, the demer Barbara
Fleet Street is today and we're we're doing the movie,
the Johnny Movie and it's it's interesting.
Speaker 2 (00:35):
Oh, I'm excited to talk to you about this. I
have a lot of friends, so this is their favorite
song time musical.
Speaker 1 (00:42):
Mm hmmm, I get it. I get it. Uh, it's
not mine. It's definitely not my favorite musical. It's not
even my top favorite musicals. Interesting, they got an eighty
six on Rotten Tomatoes, which is quite high. I personally
(01:04):
don't think that this musical, not as a musical, but
as a movie. This the theatrics of this musical should
stay on stage. That's what I think. Yeah, Like it
almost takes away a little bit of the mystical magic
of like everything that happens in it.
Speaker 2 (01:21):
I've never seen a stage of this.
Speaker 1 (01:24):
It's really good and it's dark and it's hysterious, and
the tone is right and it's like the the chair
trick on the stage, you know when when the goes
into the slide literally there's like a there's a trap
door and people slide down, kind of like you see
in the movie, but like on stage, it's much more
(01:45):
exciting because you don't see it and you just see
people disappear and then like you're like, oh, it's so cool.
It's theater and in this you're like, yeah, of course
there's millions of dollars to make a slide, But I,
I don't know, there's something about the minimal way in
which this musical is done, like they did it at
Barrow Street, I think, and they did it when when
(02:09):
you do it on a stage, that's like there's something
left to the imagination and the blood is exciting and
the gore is exciting, and the musical is like darker
versus this like movie and high death that like doesn't
quite resonate the feeling that I think you're supposed to
feel when you watch this horror. Yeah exactly. So I
(02:31):
will say this is not my favorite and I didn't.
It took a lot for me to get through this one.
And it's also not like a listen through musical, Like
it's not something that I put on like Wicked, and
I'm like, I can listen to this. Yeah, it's it's
musical and it is story driven and it is brilliant,
(02:51):
but it is just not as pleasing to my ear
as I would I like. But there are there are
key songs, key characters, key moments of course that stick
out in my brain. And I thought everybody was very
good in it. I just it just doesn't quite sweety,
(03:12):
just doesn't quite do it for me.
Speaker 2 (03:14):
And that's fair. I love so and it has all
sort of like the classic sond Time yes, like melodic structures,
and he does like dark and humor very well.
Speaker 1 (03:29):
M m.
Speaker 2 (03:31):
I like how humorous all of his things are really
like you know, with the wordplay, and I feel like
this tone of show. I want to see a prorection
of it so badly because I feel like I would
absolutely love it because it also feels like and correct
me if I'm wrong, but it feels like there's a
(03:52):
lot of opportunity for like comedy within this that maybe
in the stage show able to access more easily than
in the movie, because there's a couple of times where
it felt like, you know, held the bottom carter saying
something and they're all playing it really deadpan, which I
(04:12):
think is really funny, but like it sneaks up so
quickly that you don't maybe necessarily even realize that it's
supposed to be humorous.
Speaker 1 (04:19):
That's exactly right. The humor is definitely lost a little bit.
Speaker 2 (04:23):
Yeah, which is hard and I feel I honestly feel
the same way about Alphaba and Wicked in the movie.
That's some of the humor and like goofiness is lost.
And maybe that's just like a a musical thing that's
hard to I did not dislike this movie. I thought
I was going to really hate it.
Speaker 1 (04:47):
There's nobody better to do this in Tim Burton, I
will say, like to capture the feeling tone of this musical.
I think that's right. I just yeah, okay. So number
one song in the on December twenty first, two thousand
and seven is No. One.
Speaker 2 (05:05):
This is basically a Christmas movie.
Speaker 1 (05:08):
It's basically a Christmas movie, and I love this song.
Number one movie is National Treasure Book of Secret. It's
one of my personal favorite movies of all time.
Speaker 2 (05:19):
I might have to watch that tonight.
Speaker 1 (05:21):
It's on repeat in our house. Number one and too,
we're like, which one are we watching tonight?
Speaker 2 (05:25):
There's no Glee news this week. Obviously it's two years
before the show's premiere. On TV, it was Gossip Girl,
Grey's Anatomy was deep into season four. Keeping Up with
the Kardashians had only launched a few months earlier.
Speaker 1 (05:39):
Oh wow, it.
Speaker 2 (05:41):
Was a tough year for a Britney Spears. That was
rough best selling album in the country was Josh Grobin's Noel, which.
Speaker 1 (05:50):
Is We Love Chris, We Love a Christmas.
Speaker 2 (05:53):
Josh Grobin went to do this on Broadway, Sweeney Tom
on Broadway, So there you go. Online YouTube was still
mostly just viral videos. Facebook was overtaking MySpace swiftly, and
the iPhone had only been out for a few months.
Two thousand and seven was such a pivotal year in
my life, Like I remember it was it so.
Speaker 1 (06:14):
So clearly, Yeah, yeah it was.
Speaker 2 (06:18):
It was shocking.
Speaker 1 (06:21):
Oh on Broadway where shows Wicked, Lion King, Jersey Boys,
Spring Awakening. The overall vibe of two thousand and seven
was peak emo in Indie Sleeve's skinny Jean side, swept bangs,
bands like Followup Boy, Paramore, My Chemical Romance. This all
feels very familiar.
Speaker 2 (06:39):
Yes, have you listened? Did you listen to My Chemical Romance.
Oh yeah, Oh, I just went back and listened to
their first album recently. It is still so good, so good.
Big fan, big fan. Okay, So back into Sweeney Todd.
Sweeney Todd was directed by Tim Burton, screenplay by John Logan,
music by Steven Sonheim, and is based on the nineteen
(07:01):
seventy nine musical of the same name by Sondheim and
playwright Hugh Wheeler. The music itself was based on a
nineteen seventy play by Christopher Bond, which was a retelling
of the Victorian Penny Dreadful serial character who first appeared
in the String of Pearls in the eighteen forties. So
this comes with a lot of French history. You know,
(07:21):
we love rich history. We love a rich deep history.
Speaker 1 (07:26):
Speaking of deep history, the Glee history is that Sweeney Todd.
We did not while I'm around. It is the only
song from Sweeney Todd that was performed on Glee, not
surprising and Blaine saying it to Kurt in season five
Bash episode Bash was great use of that side tributes.
Speaker 2 (07:44):
Yes, yes, definitely definitely this movie. What happens Listen to
the official summary? Okay, Johnny Crapp and Tim Burton joined
forces again and a big screen adaptation of Stephen Sondhim's
award winning musical thriller. Sweeney Todd musical Thriller also is
just a fun, fun genre.
Speaker 1 (08:03):
Yeah yeah.
Speaker 2 (08:04):
Depth stars in the title role as a man unjustly
sent to prison who vows revenge not only for the
cruel punishment, but for the devastating consequences of what happened
to his wife and daughter. When he returns to reopen
his barber shop, Sweeney Todd becomes the demon barber of
Fleet Street who quote shaved the heads of gentlemen who
never thereafter were heard from again. Basically, he goes in
(08:27):
for revenge, leaves a serial killer, you know, like he
was going after one or two guys and then just
decided to just.
Speaker 1 (08:35):
Open up the floodgates, the blood gates. Sondheim Waffen said
that the show was ultimately about obsession and how revenge
consumes the person who pursues it, which is very clear
in this film, I will say, and very clear in
this story in general. So I don't think there's any lack.
Speaker 2 (08:54):
Of clarity right this musical and also in the plot,
I think the original stage show. It's eighty over eighty
percent of the show is underscored or sung, so it
feels almost like an opera. I don't feel like you
get that from the movie, No you don't, but I
(09:15):
feel like, again, probably having that underscoring throughout the entire
musical feels so spooky and scary.
Speaker 1 (09:24):
Yes, yes, so Sometime also said he imagined Sweeney Todd
as a relatively small, intimate horror piece, which I think
is why the movie is so big in scale of
like seeing the world that like, it doesn't feel intimate
to me in the way that it was supposed to feel.
(09:45):
So there was a production that was performed at the
Barrow Street Theater downtown. It was off Broadway in New York,
and it was led by Carolee Carmelo and Norma Lewis
and Matt Doyle was in it Our Friend And it
(10:08):
was a really small immersive theater where you like, we're
basically in the pie shop, and they used the whole
thing to like you were in the space and like
and you know, the carriacters would show up, like and
you'd have to turn back and look at them, and
(10:28):
it was so cool and it felt so intimate, and
I think that's why coming off of this, I think
that was the last performance of it I saw live.
I didn't get to see the more recent revival, and
I think I'm coming off of that and thinking like,
where was that feeling that I had?
Speaker 2 (10:45):
Well, you know, I talked to We should actually have
her on sometimes just talk about musicals. But Georgie Rancom,
who directed Me and the Frogs, it's a huge song time.
She's done several sometimes productions in London directed, and the
one she really wants to do is Sweeney Todd because
she feels like no one's gotten like the horror element
(11:10):
exactly right before. Yeah, and so I'm wondering, as you're
saying that, if it should almost feel like I mean,
you know, like an upscale version of like a haunted house,
sort of feeling like you are participating in it. Why
the people are all around you because watching something is
horrifying as like a serial killer and working in the
(11:34):
way like they grind up the body, they're making these
meat pies and they're sort of sort of cavalier about it. Yeah,
could and maybe should feel like really horrifying, and then
you have like the bounciness of sometimes.
Speaker 1 (11:47):
Writing right right and human against it.
Speaker 2 (11:50):
To play against it. But if you're sitting in that world,
how uneasy that may make you feel in a good way,
which I think is why maybe like the tim Burton
of it all, he does vibe really really well right,
Like I think in his stylistically, like the makeup, the hair,
it's classic Tim Burton and it obviously does fit with
(12:13):
a Sweeney Todd. Yeah, yeah, is it the best version
to see? Yeah? And maybe maybe it just doesn't necessarily
work translate, translate. I just think the thing about theater
two is that I was thinking during this, where you're
sitting in a theater, so your suspension of disbelief is
(12:33):
immediately really high, right you're watching these people do it
in front of you. So I think when you're sitting
at home or in a movie theater, you still have
a sense of suspension of disbelief, definitely, but it's a
whole different thing. So when like you're I think musicals
or plays are able to cut through so much time,
(12:54):
so much more seamlessly than in a movie, or it
can feel more clunky in a movie because of just
where you are and how you're at the medium of it. Yeah,
And there were a couple times in this I was like,
I don't know if it's bad filmmaking. I just think maybe,
like you know, sort of the time he gets off
the boat, all of a sudden he's back in his
shop and things just start happening at a rapid pace.
(13:17):
It's just a musical, and there almost does need to
be more adaptation in a movie to make it work
than I think maybe some of these people or when
they pass away, their states allow them to do.
Speaker 1 (13:35):
It's a tough one, it's complicated one. But I will
say this show, in the original nineteen seventy nine production
one eight Tony Awards, including Best Musical Established and it's established.
Sweenshot is one of sometimes most ambitious works, which we
definitely agree with. Len Carry who played Sweeney, and Angela
Lansbury played Missus love it and their performances became definitive
(13:56):
interpretations of the.
Speaker 2 (13:57):
Roles clearly randomly. On my TikTok, I saw this whole
thing that came up about how Stephen Sondheim wrote and
offered the part to Andrew Lansbury made everybody else audition,
but she did not have to audition. He wanted her
to play this role.
Speaker 1 (14:11):
Mmm, icon, Wait, did you know there's also a nineteen
eighty nine a Broadway revival called teeny.
Speaker 2 (14:16):
Todd Yes, and Circle in the Square. Yes, but I
mean that's an intimate that's what we're talking about.
Speaker 1 (14:24):
Yeah, we love Circle in the Square. Yeah, it was.
It was focused on the psychological tension rather than spectacle
showing up. The musical could succeed without its original industrial
size production, which I yeah, I mean I think it can.
I think that's the beauty of this is that it
can survive, or you know, succeed in all of these
different places, whether it's massively successful or just slightly successful.
(14:48):
The base work we know is excellent, and so it
has the ability to live many places. It's just preference.
Speaker 3 (14:57):
I'm Kristin Davis, host of the p Are You a Charlotte?
The most anticipated guest from season three is here the
Tray to My Charlotte. Kyle McLaughlin joins me to relive
all of the magical Tray in Charlotte moments. He reveals
what he thinks of Trey giving Charlotte a cardboard baby.
Speaker 4 (15:19):
Why would I bring her a cardboard baby? I was
literally I was like this doesn't track for me at all.
Speaker 3 (15:24):
When he found out Trey's shortcomings, I'm kind of.
Speaker 4 (15:27):
Excited to talking about it. You know, I think he's
he's a guy spends time in Central Park. You know,
he's probably don't be some surgery stuff, you know. And
I was like, all this kind of stuff going on,
and they were like yeah, yeah, yeah, fine, And they said,
but he's impotent, and I was like, he's impotent.
Speaker 3 (15:40):
And why he chose not to return to And just.
Speaker 4 (15:43):
Like that, they came and presented an idea and I
was like, I get I see it.
Speaker 1 (15:47):
It's so kind of a one joke idea.
Speaker 5 (15:49):
You don't want to miss this.
Speaker 3 (15:51):
Listen to are you a Charlotte on the iHeartRadio app,
Apple podcasts or wherever you get your podcasts.
Speaker 2 (16:01):
You know what I really did love about this again
this being the only version I've ever seen of it.
So often in musical movies or musicals in general, what
people hate about them is the thing that makes it
a musicals people breaking into song and have it feeling
really corny and like overly explaining how we're feeling. I
(16:22):
know a lot of these songs in this show, like
you said, are not things you're going to put onto
jam too. However, and in the proper context, I loved
how easy it was and how it didn't make me
uncomfortable listening to all these things, like watching how they
work against each other, all these different characters, Like it
(16:43):
didn't necessarily feel like it fell into all the stereotypical
like tropes of a musical, especially one that is eighty
percent over eighty percent orchestrated that could be difficult, like
how we sort of felt watching the.
Speaker 1 (16:57):
Rent movie No Offense right right right, right right, definitely.
Speaker 2 (17:01):
And I did feel like they pulled that off. And
maybe that's just because the writing is so damn good
and hiss like alodic structure is so good and complicated.
How do you feel about this? Is always the question
when it comes to casting these things. You have big
(17:22):
movie stars, some are better singers than others. What is
the balance. My thought is Johnny Depp and hell The
bottom Carter are great actors.
Speaker 1 (17:38):
Yes, yes, some of the best, yes, I think.
Speaker 2 (17:45):
And when Helen A. Bottom Carter's not singing, I'm like, damn,
she's good, Like want I want to keep watching this movie.
Same with Johnny Depp.
Speaker 1 (17:56):
It's because Somenheim's stuff is so complicated and in order
to do it, you have to be at least musical,
and it's meant for even though it sounds very talking
and it's very bouncy, still like you have to yes, yes,
and you can't miss them because they're purposeful and intentional
(18:18):
and strategic, and so there's a part of it that's
like you have to be musical in order to successfully
deliver sometimes pieces. And I love the pairing. I think
Helen on them encompassed, as did Johnny, like these characters
that that have such integrity to them already and like
(18:44):
such a clear direction, and so I appreciated their performances.
I do think I would have liked to hear like naturally,
when you're casting Sweeney and any other production of a stage,
it's usually somebody who is classically trained and Miss Lovey
can get away with a little bit more, but it's
(19:06):
still pleasing to hear them saying this stuff. Well, it
doesn't bother me as much in this one. But again,
like I don't love I'm not super attached emotionally to
this one. Where I felt like super attached to the
casting of this one, Like I think it was cast. Well, yeah,
(19:29):
could they have gone a totally different way, yes, you know,
and that might have been different. Yeah, but I thought
that the rest of the cast was really good, like
Alan Rickman, and not that that it was bad that
two were bad, but like Alan Rickman is Judged and
(19:53):
Sasha Baron Cohen it plays PERELLI loved. I always loved
his work.
Speaker 2 (19:59):
I thought Jamie Campbell Bauer was excellent.
Speaker 1 (20:02):
Mm hmmmm hmm. I thought that everybody was great. Yeah.
Speaker 2 (20:06):
My favorite number of the entire thing was Alan Rickman
and Johnny Depp singing.
Speaker 1 (20:09):
Together Yeah during the show.
Speaker 2 (20:12):
I love that and maybe because it felt more.
Speaker 1 (20:14):
Intimate, very iconic numbers.
Speaker 2 (20:16):
Loved it was shot. It really felt like I was
in it, Like yeah, anyway, that sounds so stupid, no wonder,
but I think Alan Rickman's voice matches with the character. Yes,
his singing voice and speaking voice matches the gravitas, the power,
(20:38):
the evilness of the character he's playing of Judge Sherpin. Right, Yeah,
where I know that. HeLa Bottom Carter said like intentionally
she was singing like soft and whispery to emphasize like
love its delusion, That's what she said. But what I
(21:00):
found hard about that as a viewer was that it's
completely sort of associated from her talking voice, where she'd
go into the song to sing it in almost this
careless way. Someone was swallowing some of her words, right,
and then she would talk. And she is this sort
of kind of strong, secretly manipulative character.
Speaker 1 (21:22):
Yeah, yeah, yeah, And she's such.
Speaker 2 (21:24):
A powerful actor. Yes, And I like, I thought she
was so good that when she was singing that when
she was singing, it took me out of it because
it felt so different now Johnny dep I felt it
was more matched. The singing didn't distract me, was the same.
(21:44):
There was a very clear through line where it felt
like the boom Carter was playing something when she was
talking and playing something different when she was singing. That
being said, because they're all such good actors, it was
just it was really fun and again I felt safe
watching them because I knew like they weren't ever going
to be bad and the acting.
Speaker 1 (22:05):
Parts right, right, right, right. No, that's a good that's
a good point that I think when you have people
who don't naturally actors who don't naturally sing in roles,
there is such a focus on that part of it.
Versus it just being like you know, Ariana's had said
(22:27):
she said an interview interview recently, like I wanted to
like work so hard at the vocals that I didn't
have to think about it when I got on. And
I think that for people they want to get it right,
actors who don't naturally sing all the time, like even Johnny,
you know, had years of vocal training to get, you know,
to the level he needed to get for this role.
(22:48):
And I feel like it's such a focus that sometimes
it takes you out of it because people are it
becomes like another character, almost like another part of you,
whereas like singers, it's an extension of who you are.
So I think that there's like definitely a piece there
(23:11):
that also plays out with people who aren't naturally singing
all the time. I also found this very very interesting.
Kevin the studio marketing downplayed the fact that this movie
was a full musical. They were doing this audience members
complaining or walking out upon realizing the characters saying throughout
the entire thing when basically in a whole opera. So
(23:33):
I am so perplexed, But I didn't, you know, discount that,
Like the critics praised the film, the visuals, production design,
everything was it's actually like. This film appears on numerous
top ten lists for two thousand and seven and is
(23:54):
now considered one of the best musical films of the
twenty first century, which I can appreciate. It's not my
but I appreciate it and like Reviewers highlighted Burton's signature direction,
emotional power of the score, the film's blend of horror,
comedy and tragedy, which is like part of the story.
But I'm just confused as to how you don't market
(24:17):
this properly as a full musical.
Speaker 2 (24:20):
Yea, that's crazy. That's like, why do you sign on
to make a Stephen Sondheim movie and not like promo,
like come on, yeah, what are we doing? See? I
feel like I've heard people ragging on it so long
that maybe my expectations going into watching this again were
(24:42):
pretty low. But so many of the issues I normally
have with movie musicals, which again can be feeling forced,
or people not feeling qualified, or people not understanding how
to shoot dance. There's no dance in this, there is movie.
I think there's a a great advantage of filmmaking for
(25:04):
a musical can be like what we've talked about, the
close up and actually seeing people's eyes and things like that,
where I felt like, because Tim Burton is such a
good director, that we got so much of that and
it did feel right. I think, you know, maybe some
of my hang ups are maybe same things you were
talking about. Is like when you do see such a
(25:26):
vast world and you're using so many like using so
much CG like with the buildings and stuff like, some
of that took me out of it. And that's just
his his style of filmmaking is bordering on surreal always.
Speaker 1 (25:42):
Mm hmm. Yeah.
Speaker 2 (25:44):
Where the parts that were sort of more grounded were
the parts I liked more, where you like, you could
feel the sets they were on. It felt like an
old shop. It felt you know, like those things where
they're walking through the streets. Yeah. I that's what made
this feel sort of like haunting and scary, and that's
(26:06):
what felt right to me. But whenever it did sort
of expand into like the too tim burtony. Yeah, but
maybe that's I mean, but maybe that works with Spiny Tak.
Speaker 1 (26:18):
Did the level of like gore in when like the
body's dropped, et cetera. Like you don't see that in
the stage where you see like the neck kind of
go and then they go down the funnel and then
it's like back into the pacement. What like? Do you
think it was too much? Did you think it was
necessary for the film to do that? Like? Where where
(26:39):
is your gore?
Speaker 2 (26:42):
Level?
Speaker 1 (26:43):
Lie?
Speaker 2 (26:43):
I liked it?
Speaker 1 (26:44):
Mm hmm.
Speaker 2 (26:45):
I thought I thought it was. I was glad they
didn't like shy away from that. Yeah, because at first
two I was like, oh my god, they're really that
whole like bit where they're cutting throat after throat, like
that's the comedy.
Speaker 1 (26:59):
Yeah.
Speaker 2 (26:59):
Yeah, they're also and like they're hitting the basement floor
and their necks are breaking. Homeboy's head split in half
when he hit. I thought all of that was pretty great,
and I liked that they weren't didn't they didn't shy
away from that. I also think you have a studio
movie with all these really big stars and you're doing
a really famous musical, the thing can always be to
(27:22):
like sanitize it a bit to make it more approachable.
I'm glad they didn't. Yeah, the blood color it was
that was a little distracting because it was so not
so red. But it was like orange.
Speaker 1 (27:38):
I wonder it was just the coloring of.
Speaker 2 (27:40):
All so then and some of this research it says
they died it red so it would appear they died
at orange, so it would appear red, because all of
his things are so desaturated, you know Tim Burton's movies,
and but and what I was watching, it still looked
a little orange. It was a little light. I almost
(28:01):
wish it was a deeper because that would make it
feel even goier and more realistic. But I liked all
the gore. I thought that made me. Now that like
coming into this having a deeper understanding of what this
musical is about and how it's supposed to be, like
people's feelings about it. I really appreciated that. How did
you feel about it?
Speaker 1 (28:24):
I don't think it mattered to me.
Speaker 2 (28:27):
Do you think you would have it would have mattered
if they didn't do it? How was it on stage?
Like when you saw it? What was that like? If
you remember.
Speaker 6 (28:40):
Remember?
Speaker 1 (28:42):
I think the humor lies in that also, like the
bodies like being dumped on each other, and the splatter
and the things and the I don't remember it being
as gory or like seeing the bodies and the heads
crack and the you know, all the things that you
see when they dropped from the from the chair. So
I thought that was funny and comical, and I thought
(29:04):
for the sake of.
Speaker 2 (29:06):
Tobias, who, by the way, shout out to Tobias Ed
Sanders played him, I thought he was like one of
the best parts of this movie.
Speaker 1 (29:18):
Oh yeah, yeah, Like I like sung it properly right, totally,
everything was right.
Speaker 2 (29:25):
I was like, this kid has eating these adults up.
Speaker 1 (29:27):
No, so good, And I think for the story purpose
of that, I think it worked. Do I remember in
the show it not being as visual like it was
the cutting of the neck and then like that was
kind of it. Like I don't remember the other parts.
(29:48):
So I remember it standing out in the movie when
I watched it this time, and I was like, oh,
I don't think they went that far for the stage production,
but for the movie. I think you have to write,
you have to expand the world and you have to
go there and you have to do all that.
Speaker 2 (30:00):
So like expanding the world in that way.
Speaker 1 (30:02):
Yeah, yeah, exactly, But I don't either way, I don't
think it really mattered all that much to me. Speaking
of though, like, uh, Toby's not while I'm around so good.
Speaker 2 (30:20):
Yeah, and he and Helena Bottom Carter together, like their
chemistry was good.
Speaker 1 (30:25):
Highlight of the film.
Speaker 2 (30:26):
Yeah, definitely, Like whenever they were together, I wanted more
of them, Yeah.
Speaker 1 (30:31):
For sure. And I just did you like Joanna?
Speaker 2 (30:36):
Yeah, Like I liked how tight all this story is, right,
Like it doesn't need to be eight billion characters, Like sure,
this boy gets off the boat ends up falling in
love with a girl in a window who happens to
be the guy, the guy's daughter that he was on
the boat with, Like sure, like yeah, yeah, yeah, it
(30:58):
works whatever. I also thought they were They were great,
and it's like tragically the comedic how stupid this all
ends up being in hand And I like that it's
just Gore on top of Gore. I you know me,
I'm a sucker for a dark comedy and that's really
what this is. Yeah, ultimately, like we're making light of
(31:22):
a serial killer here and like making and cannibalism.
Speaker 1 (31:29):
Yeah you know.
Speaker 2 (31:29):
Like so I like that they had like the only
non crazy storyline until it was crazy.
Speaker 1 (31:38):
Right right right right the end. But yeah, there's like
a grounding piece of them that, like.
Speaker 2 (31:45):
The younger people in this storyline grounded in this movie.
Speaker 1 (31:48):
Yes, yes, yes, yes, speaking of the cannibalism, yeah.
Speaker 6 (31:53):
The pies, yes, the pie that grows me out more
than the bodies. I know, the pies are When Johnny
Depp is holding one of those pies and it's leaking out,
It's like, it's very funny.
Speaker 1 (32:08):
It's funny.
Speaker 2 (32:08):
That's it. I almost think was Johnny dip like too dry?
Is that why?
Speaker 1 (32:13):
Like No, I don't think so. I think he has
to be I don't think he can play yeah, Like
she's so comical that like I think he needs to
play the like the Jacqueline hide of it. But the
Where's Pies in London are great and just like a
little priest and all these pieces. But you know, PIERELLI
(32:33):
really stuck out for me as well that you liked. Yeah, yeah,
like Sash America and I loved that whole, Like the
it was very clear to me. The story was very clear, which.
Speaker 7 (32:47):
Is like most important in a movie, I think, I
mean in general, right, but like in the movie and
particularly I felt like the revenge Piece was so clear
for Johnny and like.
Speaker 1 (32:57):
I I knew what he wanted and he knew and
I was like, he's so close and the stakes were high,
and they were right, and I felt like driven by
the story versus by anything else, and so that was successful.
I thought, yeah, sure too. And I just thought his
perform Sasha baron Koine's performance was really good along with Johnny's,
and so I think they complimented each other really nicely.
Speaker 2 (33:19):
This feels like Harry Potter and Lames Mashup, I.
Speaker 1 (33:22):
Know, so weird, right, Yes, definitely, definitely. So it's just
very strange. It made me want to watch The Miz,
which I famously hate. Interesting I hated that movie. I
don't think I hated it as much as Here's the Thing, though,
lame Is is one of my favorite musicals. So like, put
(33:43):
a paperbag over my hat with one eye and I'll.
Speaker 2 (33:45):
Watch this movie and really, like you have experience of
seeing these on stage. I haven't seen any of these
things on stage. So I think when my first interaction
with le Miz is seeing the movie.
Speaker 1 (33:59):
No, yeah, fair, No, it's not fair, that's Chicago, because
that movie's I feel like that's a lot of people though, yeah,
that's the truth. Is like a lot of people's introduction
to these are the movies, and like that to me
is like, oh, we need to get it right then.
Speaker 2 (34:13):
Exactly, that's what That's what sucks because then it makes
me mean, like I don't ever want to go see
the Stage show because.
Speaker 1 (34:18):
Yeah, like that movie was terrible. I what did you
think of the End of the Woods Musical, the movie
you remember? I remember I auditioned for it.
Speaker 5 (34:29):
Yeah.
Speaker 1 (34:30):
I was curious because I didn't that similar time. Yeah, okay,
that one.
Speaker 2 (34:34):
I thought they really did not get right. We're gonna
watch it though.
Speaker 1 (34:39):
We're definitely gonna watch it.
Speaker 2 (34:40):
Because again, I haven't seen that since it came out.
Speaker 1 (34:46):
Hey, it's Wilfred Dell and Sabrina Bryan.
Speaker 8 (34:48):
From the podcast Magical Rewind and we have a very
special guest on this week's episode. He's the mastermind behind
some of your favorite movies like hocus Pocus, Newsy's, The Descendants,
and of course High School mus Yes, it is the
one and only a living legend director Kenny or Tega.
Speaker 9 (35:05):
We sit down with Kenny to talk about his incredible
career and the legacy he's created with his choreography and films.
Speaker 2 (35:11):
You seriously will not want to miss this one.
Speaker 9 (35:13):
Listen to Magical Rewind on the iHeartRadio app, Apple podcasts
or wherever you get your podcasts.
Speaker 10 (35:18):
Hi, it's Jenny Garth, host of the I Choose Me podcast.
This week, I'm so excited to welcome my friend Gabrielle
carteris the Andrea Zuckerman from Beverly Hills nine o two
on OHO to the pod.
Speaker 5 (35:31):
We're choosing to get real.
Speaker 6 (35:32):
I applied to the networks about my age and contracts.
Speaker 5 (35:35):
They never would have hired me if they had known
my age. We're choosing to be honest.
Speaker 1 (35:40):
She looked at me, and she said, this business is
about mask which you have.
Speaker 5 (35:43):
Neither of, and we're choosing to get nostalgic.
Speaker 10 (35:45):
Listen to I Choose Me on the iHeartRadio app, Apple
podcasts or wherever you get your podcasts.
Speaker 1 (35:54):
Okay, let's talk about some of the music.
Speaker 2 (35:58):
Oh well, okay, if we're gonna talk with me music
real quick, let me get on my high horse again
and talk about how they recorded them vocals.
Speaker 1 (36:07):
Oh yeah, tell me.
Speaker 2 (36:09):
It's like, guys, what are we doing here? There's so
much tune on their voices. Yeah, where again, we got
to figure something out. This is two thousand and seven,
so it's almost twenty years ago. Like, I get it, yeah,
but you know they it sounds like they pre recorded
everything is what it sounds like.
Speaker 1 (36:28):
But that's definitely right.
Speaker 2 (36:29):
Yeah, But then again that creates like the Glee thing
where you have a vocal that sounds vastly different than
the talking, which is fine if that's what we're doing,
that's what we're doing, right, But then you have things
like Wicked where they're singing live and again because the
mics aren't good enough if how we're recording it, there
(36:51):
is still a difference in tone of how we're doing this,
where it just and they're all getting pitch ficks after
the fact regardless. Right, So I'm like, I don't know
what the solution is because it all sounds not great
to me, and like you have these people start singing
and you're singing. I think that I think the issue
is especially with something like sound time, Like if you're
(37:15):
doing music like we were doing on Glee, like pop
music or rock music, I think it's easier to get
away with doing autotune or melodine because like that's how
those songs actually sound. Anyway, when you are doing musical theater, right,
when all of a sudden you have there's a a
quality in the recording and you may not even realize
that when you're listening to it. But like Glee, we
(37:35):
didn't use autotune. We used melodine, which is more precise,
but there is a vocal quality.
Speaker 1 (37:41):
Yeah, sound tone like a yeah.
Speaker 2 (37:43):
So like you know, when like T Pain uses auto tune,
he's intentionally using it that heavily, so it sounds like that.
But when you use it on different like let's say
that's turned up to one hundred, right for T Pain.
You can use it anywhere from one hundred to one percent.
So there is a wide range of how these things
can sound, and like in this movie, it was like
(38:05):
on some of them it just almost sounds electronic. When
you start robotic robotic, like why why just do another take?
Get the vocal better. You don't have to use it
as much because then it takes you out of it
and then they go back to speaking and dialogue sometimes
doesn't need to sound electronic. Yeah anyway, Okay, I'm done.
That's why I rant interesting. But that's not even just
(38:28):
for this movie. That's for literally every musical movie maybe
except Chicago.
Speaker 1 (38:35):
Well lame as they did live But are you talking
about like afterwards. Okay, all right, so the music, what
were the standouts for you? We can't create all these performances.
There's about a hundred, but I really liked. Uh. Obviously,
Pretty Women was a highlight.
Speaker 2 (38:56):
Pretty Women was excellent. I loved I loved Pretty Women.
Speaker 1 (39:00):
Joanna is A is a fan favorite. It is overdone,
but a fan favorite for lots of young men in
the musical theater world.
Speaker 2 (39:09):
I thought Perelli's Miracle Elixir was also really great.
Speaker 1 (39:12):
Mmmmmmm yeah. Jamie Campbell Bauer very good.
Speaker 2 (39:17):
Yeah, he's always good. Also, shout out to him for
like carving out a full lane and like dark things.
Everything he's in is dark, Like I see what you mean.
Like literally everything he's in it has the same darkness
to it. But he's like this blonde pretty boy.
Speaker 1 (39:38):
We love that.
Speaker 2 (39:39):
We love that he's a sweet man.
Speaker 1 (39:42):
And then obviously not while I'm around, which we love.
Speaker 2 (39:44):
Oh it's beautiful. Yeah, I mean I liked so much
of this music. I honestly couldn't even tell you which
song is which song?
Speaker 1 (39:54):
Yeah, well that's it right. The whole thing felt very memodic.
Speaker 2 (39:58):
It all flows one into the other. And yes, yes,
there's nothing that stuck out to me. I was like, ugh, next,
hm hmm, interesting did you not.
Speaker 1 (40:08):
Feel some of them? Maybe it's also that I've heard
these so many times, but I'm like, not this song again, right,
like Greenfinch and len It Burgh. I just like, I've
heard this one hundred times. It's it's overdone. Like all
these songs are overdone. So I just feel like sometimes
I hear them over and over again, I'm like, oh,
(40:29):
not this overdone song. It's kind of like it's a
little similar, but not for me personally, but like on
my own You're like, I've heard this one hundred times, right,
like you know the song so anyway, but.
Speaker 2 (40:40):
As a little priest when she's talking about actually making
the the meat pies for the first time with the humans.
Speaker 1 (40:46):
Oh yes, yes, yes, a little priest.
Speaker 2 (40:49):
That was great. I thought that was really priest.
Speaker 1 (40:52):
That's her big song, like you know, her famous song.
Speaker 2 (40:55):
Yes, really fun.
Speaker 1 (40:57):
Go look and watch Angela and very do that. Yes,
it's perfect. Let's do some tarty cakes. Okay, cringe moments.
Speaker 9 (41:08):
I mean.
Speaker 1 (41:10):
This is very heavy on a lot of things that
are just you know, there's rape heavy. Yeah, heavy, like
that was crazy.
Speaker 2 (41:19):
A sex party at the Judge's house and then he
just rapes this woman with everybody watching.
Speaker 1 (41:24):
Yeah, I would want revenge.
Speaker 2 (41:26):
That was the most disturbing part of the entire thing,
Like her screams Now, that was really like, oh, I
was expecting murder.
Speaker 1 (41:34):
We went there.
Speaker 2 (41:37):
But it goes with the theme of the movie, like
everybody's bad. Everybody it's still cringing.
Speaker 1 (41:42):
Yeah, dance move. I don't know, there wasn't anything.
Speaker 2 (41:46):
It was the shaving.
Speaker 1 (41:47):
Yeah, yeah, yeah, yeah, the shaving of it all. That
song not while I'm around, I think.
Speaker 2 (41:54):
Yeah, that song is just that comes on. You're like
that melody feels like you've known it for forever.
Speaker 1 (42:00):
Yeah. Yeah, And even if it's overdone, it's still Yeah,
it's like no one is alone. It's that that sentiment. Uh,
that's performance by a prop obviously, the ras, there's quite
a few, the razors, the meat pie, I.
Speaker 2 (42:15):
Think all of the dead body parts. Carter opens the
chest and sees Sasha Baron Cohen dead and she's like,
oh my god, what is wrong with you? Then he says, well,
he threatened the black Man and she's like, oh, well
in that case and then opens it.
Speaker 1 (42:29):
Again or the hand of the case. Yeah, best line.
Speaker 2 (42:37):
It's not even necessarily a line, but it's that moment
where they showed Judge Turpin sentencing somebody to death by hanging,
and it's the little boy and they're leaving. It's like,
what did did he actually do it? Like, well, hasn't
everyone done something too.
Speaker 1 (42:57):
Juan, I've never had dreams, only nightmares. Chilling performance MVP,
that's actually difficult. I'm going with Alan Rickman. I mean,
obviously Johnny and Helena.
Speaker 2 (43:17):
Yeah, I mean they really did you know.
Speaker 1 (43:21):
They did that? That's tough. Yeah, it's a it's a
big load to carry.
Speaker 2 (43:26):
Yeah, they and they acted out of it.
Speaker 1 (43:30):
Yeah.
Speaker 2 (43:30):
So I don't know, I don't think there were really
any weak points in this cast. That's hard. Yeah, I'll
go Johnny and Helena. Okay, should we found a TikTok? Jenna?
Speaker 1 (43:41):
Okay?
Speaker 2 (43:42):
This is great. And there's a whole series of videos.
So Sam Miski's oh my God post a video of
when twelve SIU Silvesters run to make their karaoke reservation
and everyone in subway cheers them on. It is so good,
has almost a million likes, has millions of views, and
(44:05):
then it's them running underneath that and there's se Sylvester
costumes and it shows when I actually there's one dressed
as Will and they actually get to karaoke and they're
singing to each other. It is wild and I wish
I saw that just run past me. I don't know
what I would do, but these people clearly are not well,
(44:29):
but I think.
Speaker 1 (44:30):
That, Oh my gosh, so good. I would love to
see twelve s Sylvesters running through the subway. Yeah. Any okay,
coming up you guys. So your assignment for next week
is one of his mine came WHOA? What's one of
(44:50):
mine and Kevin's favorite movie musicals of all time? Uh?
It is the one, the only Mula Rush. I'm could
not be more.
Speaker 2 (45:01):
I don't know why this feels like a Christmas movie
to me.
Speaker 1 (45:04):
It does, doesn't it It's not though it's just her
red dress, but I feel.
Speaker 2 (45:09):
Like it's the lights. There's winter at some point.
Speaker 1 (45:11):
In it, right, it doesn't matter. Yeah, well, it's all
like the Mulon Rouge is in lights, but it's you
know what, It's special and it feels appropriate. It's like
a little Christmas gift to ourselves that we're watching Mulon Roue.
So you guys, go watch Mulan Rouge. It's it's the
one the only.
Speaker 2 (45:26):
Made me gay. You and McGregor and Mulan Rouge made
me gay. It's his fault. I caught it. I caught
the gay watching this.
Speaker 1 (45:38):
Oh my gosh, no better film, all right, you guys,
So come back and watch that with us, or talk
through it with us and watch it beforehand.
Speaker 2 (45:47):
Yeah, and that's what you really missed. Thanks for listening,
and follow us on Instagram at and that's what you
really miss pod. Make sure to write us a review
and leave us five stars. See you next time.
And that's what you really missed with Jenna.
Speaker 2 (00:04):
And Kevin An iHeartRadio podcast.
Speaker 1 (00:09):
Welcome to you, and that's what your really miss podcast.
It's Sweeney Day Love some Time. This is Yeah, there's
a lot to this one. Sweeney Todd, the demer Barbara
Fleet Street is today and we're we're doing the movie,
the Johnny Movie and it's it's interesting.
Speaker 2 (00:35):
Oh, I'm excited to talk to you about this. I
have a lot of friends, so this is their favorite
song time musical.
Speaker 1 (00:42):
Mm hmmm, I get it. I get it. Uh, it's
not mine. It's definitely not my favorite musical. It's not
even my top favorite musicals. Interesting, they got an eighty
six on Rotten Tomatoes, which is quite high. I personally
(01:04):
don't think that this musical, not as a musical, but
as a movie. This the theatrics of this musical should
stay on stage. That's what I think. Yeah, Like it
almost takes away a little bit of the mystical magic
of like everything that happens in it.
Speaker 2 (01:21):
I've never seen a stage of this.
Speaker 1 (01:24):
It's really good and it's dark and it's hysterious, and
the tone is right and it's like the the chair
trick on the stage, you know when when the goes
into the slide literally there's like a there's a trap
door and people slide down, kind of like you see
in the movie, but like on stage, it's much more
(01:45):
exciting because you don't see it and you just see
people disappear and then like you're like, oh, it's so cool.
It's theater and in this you're like, yeah, of course
there's millions of dollars to make a slide, But I,
I don't know, there's something about the minimal way in
which this musical is done, like they did it at
Barrow Street, I think, and they did it when when
(02:09):
you do it on a stage, that's like there's something
left to the imagination and the blood is exciting and
the gore is exciting, and the musical is like darker
versus this like movie and high death that like doesn't
quite resonate the feeling that I think you're supposed to
feel when you watch this horror. Yeah exactly. So I
(02:31):
will say this is not my favorite and I didn't.
It took a lot for me to get through this one.
And it's also not like a listen through musical, Like
it's not something that I put on like Wicked, and
I'm like, I can listen to this. Yeah, it's it's
musical and it is story driven and it is brilliant,
(02:51):
but it is just not as pleasing to my ear
as I would I like. But there are there are
key songs, key characters, key moments of course that stick
out in my brain. And I thought everybody was very
good in it. I just it just doesn't quite sweety,
(03:12):
just doesn't quite do it for me.
Speaker 2 (03:14):
And that's fair. I love so and it has all
sort of like the classic sond Time yes, like melodic structures,
and he does like dark and humor very well.
Speaker 1 (03:29):
M m.
Speaker 2 (03:31):
I like how humorous all of his things are really
like you know, with the wordplay, and I feel like
this tone of show. I want to see a prorection
of it so badly because I feel like I would
absolutely love it because it also feels like and correct
me if I'm wrong, but it feels like there's a
(03:52):
lot of opportunity for like comedy within this that maybe
in the stage show able to access more easily than
in the movie, because there's a couple of times where
it felt like, you know, held the bottom carter saying
something and they're all playing it really deadpan, which I
(04:12):
think is really funny, but like it sneaks up so
quickly that you don't maybe necessarily even realize that it's
supposed to be humorous.
Speaker 1 (04:19):
That's exactly right. The humor is definitely lost a little bit.
Speaker 2 (04:23):
Yeah, which is hard and I feel I honestly feel
the same way about Alphaba and Wicked in the movie.
That's some of the humor and like goofiness is lost.
And maybe that's just like a a musical thing that's
hard to I did not dislike this movie. I thought
I was going to really hate it.
Speaker 1 (04:47):
There's nobody better to do this in Tim Burton, I
will say, like to capture the feeling tone of this musical.
I think that's right. I just yeah, okay. So number
one song in the on December twenty first, two thousand
and seven is No. One.
Speaker 2 (05:05):
This is basically a Christmas movie.
Speaker 1 (05:08):
It's basically a Christmas movie, and I love this song.
Number one movie is National Treasure Book of Secret. It's
one of my personal favorite movies of all time.
Speaker 2 (05:19):
I might have to watch that tonight.
Speaker 1 (05:21):
It's on repeat in our house. Number one and too,
we're like, which one are we watching tonight?
Speaker 2 (05:25):
There's no Glee news this week. Obviously it's two years
before the show's premiere. On TV, it was Gossip Girl,
Grey's Anatomy was deep into season four. Keeping Up with
the Kardashians had only launched a few months earlier.
Speaker 1 (05:39):
Oh wow, it.
Speaker 2 (05:41):
Was a tough year for a Britney Spears. That was
rough best selling album in the country was Josh Grobin's Noel, which.
Speaker 1 (05:50):
Is We Love Chris, We Love a Christmas.
Speaker 2 (05:53):
Josh Grobin went to do this on Broadway, Sweeney Tom
on Broadway, So there you go. Online YouTube was still
mostly just viral videos. Facebook was overtaking MySpace swiftly, and
the iPhone had only been out for a few months.
Two thousand and seven was such a pivotal year in
my life, Like I remember it was it so.
Speaker 1 (06:14):
So clearly, Yeah, yeah it was.
Speaker 2 (06:18):
It was shocking.
Speaker 1 (06:21):
Oh on Broadway where shows Wicked, Lion King, Jersey Boys,
Spring Awakening. The overall vibe of two thousand and seven
was peak emo in Indie Sleeve's skinny Jean side, swept bangs,
bands like Followup Boy, Paramore, My Chemical Romance. This all
feels very familiar.
Speaker 2 (06:39):
Yes, have you listened? Did you listen to My Chemical Romance.
Oh yeah, Oh, I just went back and listened to
their first album recently. It is still so good, so good.
Big fan, big fan. Okay, So back into Sweeney Todd.
Sweeney Todd was directed by Tim Burton, screenplay by John Logan,
music by Steven Sonheim, and is based on the nineteen
(07:01):
seventy nine musical of the same name by Sondheim and
playwright Hugh Wheeler. The music itself was based on a
nineteen seventy play by Christopher Bond, which was a retelling
of the Victorian Penny Dreadful serial character who first appeared
in the String of Pearls in the eighteen forties. So
this comes with a lot of French history. You know,
(07:21):
we love rich history. We love a rich deep history.
Speaker 1 (07:26):
Speaking of deep history, the Glee history is that Sweeney Todd.
We did not while I'm around. It is the only
song from Sweeney Todd that was performed on Glee, not
surprising and Blaine saying it to Kurt in season five
Bash episode Bash was great use of that side tributes.
Speaker 2 (07:44):
Yes, yes, definitely definitely this movie. What happens Listen to
the official summary? Okay, Johnny Crapp and Tim Burton joined
forces again and a big screen adaptation of Stephen Sondhim's
award winning musical thriller. Sweeney Todd musical Thriller also is
just a fun, fun genre.
Speaker 1 (08:03):
Yeah yeah.
Speaker 2 (08:04):
Depth stars in the title role as a man unjustly
sent to prison who vows revenge not only for the
cruel punishment, but for the devastating consequences of what happened
to his wife and daughter. When he returns to reopen
his barber shop, Sweeney Todd becomes the demon barber of
Fleet Street who quote shaved the heads of gentlemen who
never thereafter were heard from again. Basically, he goes in
(08:27):
for revenge, leaves a serial killer, you know, like he
was going after one or two guys and then just
decided to just.
Speaker 1 (08:35):
Open up the floodgates, the blood gates. Sondheim Waffen said
that the show was ultimately about obsession and how revenge
consumes the person who pursues it, which is very clear
in this film, I will say, and very clear in
this story in general. So I don't think there's any lack.
Speaker 2 (08:54):
Of clarity right this musical and also in the plot,
I think the original stage show. It's eighty over eighty
percent of the show is underscored or sung, so it
feels almost like an opera. I don't feel like you
get that from the movie, No you don't, but I
(09:15):
feel like, again, probably having that underscoring throughout the entire
musical feels so spooky and scary.
Speaker 1 (09:24):
Yes, yes, so Sometime also said he imagined Sweeney Todd
as a relatively small, intimate horror piece, which I think
is why the movie is so big in scale of
like seeing the world that like, it doesn't feel intimate
to me in the way that it was supposed to feel.
(09:45):
So there was a production that was performed at the
Barrow Street Theater downtown. It was off Broadway in New York,
and it was led by Carolee Carmelo and Norma Lewis
and Matt Doyle was in it Our Friend And it
(10:08):
was a really small immersive theater where you like, we're
basically in the pie shop, and they used the whole
thing to like you were in the space and like
and you know, the carriacters would show up, like and
you'd have to turn back and look at them, and
(10:28):
it was so cool and it felt so intimate, and
I think that's why coming off of this, I think
that was the last performance of it I saw live.
I didn't get to see the more recent revival, and
I think I'm coming off of that and thinking like,
where was that feeling that I had?
Speaker 2 (10:45):
Well, you know, I talked to We should actually have
her on sometimes just talk about musicals. But Georgie Rancom,
who directed Me and the Frogs, it's a huge song time.
She's done several sometimes productions in London directed, and the
one she really wants to do is Sweeney Todd because
she feels like no one's gotten like the horror element
(11:10):
exactly right before. Yeah, and so I'm wondering, as you're
saying that, if it should almost feel like I mean,
you know, like an upscale version of like a haunted house,
sort of feeling like you are participating in it. Why
the people are all around you because watching something is
horrifying as like a serial killer and working in the
(11:34):
way like they grind up the body, they're making these
meat pies and they're sort of sort of cavalier about it. Yeah,
could and maybe should feel like really horrifying, and then
you have like the bounciness of sometimes.
Speaker 1 (11:47):
Writing right right and human against it.
Speaker 2 (11:50):
To play against it. But if you're sitting in that world,
how uneasy that may make you feel in a good way,
which I think is why maybe like the tim Burton
of it all, he does vibe really really well right,
Like I think in his stylistically, like the makeup, the hair,
it's classic Tim Burton and it obviously does fit with
(12:13):
a Sweeney Todd. Yeah, yeah, is it the best version
to see? Yeah? And maybe maybe it just doesn't necessarily
work translate, translate. I just think the thing about theater
two is that I was thinking during this, where you're
sitting in a theater, so your suspension of disbelief is
(12:33):
immediately really high, right you're watching these people do it
in front of you. So I think when you're sitting
at home or in a movie theater, you still have
a sense of suspension of disbelief, definitely, but it's a
whole different thing. So when like you're I think musicals
or plays are able to cut through so much time,
(12:54):
so much more seamlessly than in a movie, or it
can feel more clunky in a movie because of just
where you are and how you're at the medium of it. Yeah,
And there were a couple times in this I was like,
I don't know if it's bad filmmaking. I just think maybe,
like you know, sort of the time he gets off
the boat, all of a sudden he's back in his
shop and things just start happening at a rapid pace.
(13:17):
It's just a musical, and there almost does need to
be more adaptation in a movie to make it work
than I think maybe some of these people or when
they pass away, their states allow them to do.
Speaker 1 (13:35):
It's a tough one, it's complicated one. But I will
say this show, in the original nineteen seventy nine production
one eight Tony Awards, including Best Musical Established and it's established.
Sweenshot is one of sometimes most ambitious works, which we
definitely agree with. Len Carry who played Sweeney, and Angela
Lansbury played Missus love it and their performances became definitive
(13:56):
interpretations of the.
Speaker 2 (13:57):
Roles clearly randomly. On my TikTok, I saw this whole
thing that came up about how Stephen Sondheim wrote and
offered the part to Andrew Lansbury made everybody else audition,
but she did not have to audition. He wanted her
to play this role.
Speaker 1 (14:11):
Mmm, icon, Wait, did you know there's also a nineteen
eighty nine a Broadway revival called teeny.
Speaker 2 (14:16):
Todd Yes, and Circle in the Square. Yes, but I
mean that's an intimate that's what we're talking about.
Speaker 1 (14:24):
Yeah, we love Circle in the Square. Yeah, it was.
It was focused on the psychological tension rather than spectacle
showing up. The musical could succeed without its original industrial
size production, which I yeah, I mean I think it can.
I think that's the beauty of this is that it
can survive, or you know, succeed in all of these
different places, whether it's massively successful or just slightly successful.
(14:48):
The base work we know is excellent, and so it
has the ability to live many places. It's just preference.
Speaker 3 (14:57):
I'm Kristin Davis, host of the p Are You a Charlotte?
The most anticipated guest from season three is here the
Tray to My Charlotte. Kyle McLaughlin joins me to relive
all of the magical Tray in Charlotte moments. He reveals
what he thinks of Trey giving Charlotte a cardboard baby.
Speaker 4 (15:19):
Why would I bring her a cardboard baby? I was
literally I was like this doesn't track for me at all.
Speaker 3 (15:24):
When he found out Trey's shortcomings, I'm kind of.
Speaker 4 (15:27):
Excited to talking about it. You know, I think he's
he's a guy spends time in Central Park. You know,
he's probably don't be some surgery stuff, you know. And
I was like, all this kind of stuff going on,
and they were like yeah, yeah, yeah, fine, And they said,
but he's impotent, and I was like, he's impotent.
Speaker 3 (15:40):
And why he chose not to return to And just.
Speaker 4 (15:43):
Like that, they came and presented an idea and I
was like, I get I see it.
Speaker 1 (15:47):
It's so kind of a one joke idea.
Speaker 5 (15:49):
You don't want to miss this.
Speaker 3 (15:51):
Listen to are you a Charlotte on the iHeartRadio app,
Apple podcasts or wherever you get your podcasts.
Speaker 2 (16:01):
You know what I really did love about this again
this being the only version I've ever seen of it.
So often in musical movies or musicals in general, what
people hate about them is the thing that makes it
a musicals people breaking into song and have it feeling
really corny and like overly explaining how we're feeling. I
(16:22):
know a lot of these songs in this show, like
you said, are not things you're going to put onto
jam too. However, and in the proper context, I loved
how easy it was and how it didn't make me
uncomfortable listening to all these things, like watching how they
work against each other, all these different characters, Like it
(16:43):
didn't necessarily feel like it fell into all the stereotypical
like tropes of a musical, especially one that is eighty
percent over eighty percent orchestrated that could be difficult, like
how we sort of felt watching the.
Speaker 1 (16:57):
Rent movie No Offense right right right, right right, definitely.
Speaker 2 (17:01):
And I did feel like they pulled that off. And
maybe that's just because the writing is so damn good
and hiss like alodic structure is so good and complicated.
How do you feel about this? Is always the question
when it comes to casting these things. You have big
(17:22):
movie stars, some are better singers than others. What is
the balance. My thought is Johnny Depp and hell The
bottom Carter are great actors.
Speaker 1 (17:38):
Yes, yes, some of the best, yes, I think.
Speaker 2 (17:45):
And when Helen A. Bottom Carter's not singing, I'm like, damn,
she's good, Like want I want to keep watching this movie.
Same with Johnny Depp.
Speaker 1 (17:56):
It's because Somenheim's stuff is so complicated and in order
to do it, you have to be at least musical,
and it's meant for even though it sounds very talking
and it's very bouncy, still like you have to yes, yes,
and you can't miss them because they're purposeful and intentional
(18:18):
and strategic, and so there's a part of it that's
like you have to be musical in order to successfully
deliver sometimes pieces. And I love the pairing. I think
Helen on them encompassed, as did Johnny, like these characters
that that have such integrity to them already and like
(18:44):
such a clear direction, and so I appreciated their performances.
I do think I would have liked to hear like naturally,
when you're casting Sweeney and any other production of a stage,
it's usually somebody who is classically trained and Miss Lovey
can get away with a little bit more, but it's
(19:06):
still pleasing to hear them saying this stuff. Well, it
doesn't bother me as much in this one. But again,
like I don't love I'm not super attached emotionally to
this one. Where I felt like super attached to the
casting of this one, Like I think it was cast. Well, yeah,
(19:29):
could they have gone a totally different way, yes, you know,
and that might have been different. Yeah, but I thought
that the rest of the cast was really good, like
Alan Rickman, and not that that it was bad that
two were bad, but like Alan Rickman is Judged and
(19:53):
Sasha Baron Cohen it plays PERELLI loved. I always loved
his work.
Speaker 2 (19:59):
I thought Jamie Campbell Bauer was excellent.
Speaker 1 (20:02):
Mm hmmmm hmm. I thought that everybody was great. Yeah.
Speaker 2 (20:06):
My favorite number of the entire thing was Alan Rickman
and Johnny Depp singing.
Speaker 1 (20:09):
Together Yeah during the show.
Speaker 2 (20:12):
I love that and maybe because it felt more.
Speaker 1 (20:14):
Intimate, very iconic numbers.
Speaker 2 (20:16):
Loved it was shot. It really felt like I was
in it, Like yeah, anyway, that sounds so stupid, no wonder,
but I think Alan Rickman's voice matches with the character. Yes,
his singing voice and speaking voice matches the gravitas, the power,
(20:38):
the evilness of the character he's playing of Judge Sherpin. Right, Yeah,
where I know that. HeLa Bottom Carter said like intentionally
she was singing like soft and whispery to emphasize like
love its delusion, That's what she said. But what I
(21:00):
found hard about that as a viewer was that it's
completely sort of associated from her talking voice, where she'd
go into the song to sing it in almost this
careless way. Someone was swallowing some of her words, right,
and then she would talk. And she is this sort
of kind of strong, secretly manipulative character.
Speaker 1 (21:22):
Yeah, yeah, yeah, And she's such.
Speaker 2 (21:24):
A powerful actor. Yes, And I like, I thought she
was so good that when she was singing that when
she was singing, it took me out of it because
it felt so different now Johnny dep I felt it
was more matched. The singing didn't distract me, was the same.
(21:44):
There was a very clear through line where it felt
like the boom Carter was playing something when she was
talking and playing something different when she was singing. That
being said, because they're all such good actors, it was
just it was really fun and again I felt safe
watching them because I knew like they weren't ever going
to be bad and the acting.
Speaker 1 (22:05):
Parts right, right, right, right. No, that's a good that's
a good point that I think when you have people
who don't naturally actors who don't naturally sing in roles,
there is such a focus on that part of it.
Versus it just being like you know, Ariana's had said
(22:27):
she said an interview interview recently, like I wanted to
like work so hard at the vocals that I didn't
have to think about it when I got on. And
I think that for people they want to get it right,
actors who don't naturally sing all the time, like even Johnny,
you know, had years of vocal training to get, you know,
to the level he needed to get for this role.
(22:48):
And I feel like it's such a focus that sometimes
it takes you out of it because people are it
becomes like another character, almost like another part of you,
whereas like singers, it's an extension of who you are.
So I think that there's like definitely a piece there
(23:11):
that also plays out with people who aren't naturally singing
all the time. I also found this very very interesting.
Kevin the studio marketing downplayed the fact that this movie
was a full musical. They were doing this audience members
complaining or walking out upon realizing the characters saying throughout
the entire thing when basically in a whole opera. So
(23:33):
I am so perplexed, But I didn't, you know, discount that,
Like the critics praised the film, the visuals, production design,
everything was it's actually like. This film appears on numerous
top ten lists for two thousand and seven and is
(23:54):
now considered one of the best musical films of the
twenty first century, which I can appreciate. It's not my
but I appreciate it and like Reviewers highlighted Burton's signature direction,
emotional power of the score, the film's blend of horror,
comedy and tragedy, which is like part of the story.
But I'm just confused as to how you don't market
(24:17):
this properly as a full musical.
Speaker 2 (24:20):
Yea, that's crazy. That's like, why do you sign on
to make a Stephen Sondheim movie and not like promo,
like come on, yeah, what are we doing? See? I
feel like I've heard people ragging on it so long
that maybe my expectations going into watching this again were
(24:42):
pretty low. But so many of the issues I normally
have with movie musicals, which again can be feeling forced,
or people not feeling qualified, or people not understanding how
to shoot dance. There's no dance in this, there is movie.
I think there's a a great advantage of filmmaking for
(25:04):
a musical can be like what we've talked about, the
close up and actually seeing people's eyes and things like that,
where I felt like, because Tim Burton is such a
good director, that we got so much of that and
it did feel right. I think, you know, maybe some
of my hang ups are maybe same things you were
talking about. Is like when you do see such a
(25:26):
vast world and you're using so many like using so
much CG like with the buildings and stuff like, some
of that took me out of it. And that's just
his his style of filmmaking is bordering on surreal always.
Speaker 1 (25:42):
Mm hmm. Yeah.
Speaker 2 (25:44):
Where the parts that were sort of more grounded were
the parts I liked more, where you like, you could
feel the sets they were on. It felt like an
old shop. It felt you know, like those things where
they're walking through the streets. Yeah. I that's what made
this feel sort of like haunting and scary, and that's
(26:06):
what felt right to me. But whenever it did sort
of expand into like the too tim burtony. Yeah, but
maybe that's I mean, but maybe that works with Spiny Tak.
Speaker 1 (26:18):
Did the level of like gore in when like the
body's dropped, et cetera. Like you don't see that in
the stage where you see like the neck kind of
go and then they go down the funnel and then
it's like back into the pacement. What like? Do you
think it was too much? Did you think it was
necessary for the film to do that? Like? Where where
(26:39):
is your gore?
Speaker 2 (26:42):
Level?
Speaker 1 (26:43):
Lie?
Speaker 2 (26:43):
I liked it?
Speaker 1 (26:44):
Mm hmm.
Speaker 2 (26:45):
I thought I thought it was. I was glad they
didn't like shy away from that. Yeah, because at first
two I was like, oh my god, they're really that
whole like bit where they're cutting throat after throat, like
that's the comedy.
Speaker 1 (26:59):
Yeah.
Speaker 2 (26:59):
Yeah, they're also and like they're hitting the basement floor
and their necks are breaking. Homeboy's head split in half
when he hit. I thought all of that was pretty great,
and I liked that they weren't didn't they didn't shy
away from that. I also think you have a studio
movie with all these really big stars and you're doing
a really famous musical, the thing can always be to
(27:22):
like sanitize it a bit to make it more approachable.
I'm glad they didn't. Yeah, the blood color it was
that was a little distracting because it was so not
so red. But it was like orange.
Speaker 1 (27:38):
I wonder it was just the coloring of.
Speaker 2 (27:40):
All so then and some of this research it says
they died it red so it would appear they died
at orange, so it would appear red, because all of
his things are so desaturated, you know Tim Burton's movies,
and but and what I was watching, it still looked
a little orange. It was a little light. I almost
(28:01):
wish it was a deeper because that would make it
feel even goier and more realistic. But I liked all
the gore. I thought that made me. Now that like
coming into this having a deeper understanding of what this
musical is about and how it's supposed to be, like
people's feelings about it. I really appreciated that. How did
you feel about it?
Speaker 1 (28:24):
I don't think it mattered to me.
Speaker 2 (28:27):
Do you think you would have it would have mattered
if they didn't do it? How was it on stage?
Like when you saw it? What was that like? If
you remember.
Speaker 6 (28:40):
Remember?
Speaker 1 (28:42):
I think the humor lies in that also, like the
bodies like being dumped on each other, and the splatter
and the things and the I don't remember it being
as gory or like seeing the bodies and the heads
crack and the you know, all the things that you
see when they dropped from the from the chair. So
I thought that was funny and comical, and I thought
(29:04):
for the sake of.
Speaker 2 (29:06):
Tobias, who, by the way, shout out to Tobias Ed
Sanders played him, I thought he was like one of
the best parts of this movie.
Speaker 1 (29:18):
Oh yeah, yeah, Like I like sung it properly right, totally,
everything was right.
Speaker 2 (29:25):
I was like, this kid has eating these adults up.
Speaker 1 (29:27):
No, so good, And I think for the story purpose
of that, I think it worked. Do I remember in
the show it not being as visual like it was
the cutting of the neck and then like that was
kind of it. Like I don't remember the other parts.
(29:48):
So I remember it standing out in the movie when
I watched it this time, and I was like, oh,
I don't think they went that far for the stage production,
but for the movie. I think you have to write,
you have to expand the world and you have to
go there and you have to do all that.
Speaker 2 (30:00):
So like expanding the world in that way.
Speaker 1 (30:02):
Yeah, yeah, exactly, But I don't either way, I don't
think it really mattered all that much to me. Speaking
of though, like, uh, Toby's not while I'm around so good.
Speaker 2 (30:20):
Yeah, and he and Helena Bottom Carter together, like their
chemistry was good.
Speaker 1 (30:25):
Highlight of the film.
Speaker 2 (30:26):
Yeah, definitely, Like whenever they were together, I wanted more
of them, Yeah.
Speaker 1 (30:31):
For sure. And I just did you like Joanna?
Speaker 2 (30:36):
Yeah, Like I liked how tight all this story is, right,
Like it doesn't need to be eight billion characters, Like sure,
this boy gets off the boat ends up falling in
love with a girl in a window who happens to
be the guy, the guy's daughter that he was on
the boat with, Like sure, like yeah, yeah, yeah, it
(30:58):
works whatever. I also thought they were They were great,
and it's like tragically the comedic how stupid this all
ends up being in hand And I like that it's
just Gore on top of Gore. I you know me,
I'm a sucker for a dark comedy and that's really
what this is. Yeah, ultimately, like we're making light of
(31:22):
a serial killer here and like making and cannibalism.
Speaker 1 (31:29):
Yeah you know.
Speaker 2 (31:29):
Like so I like that they had like the only
non crazy storyline until it was crazy.
Speaker 1 (31:38):
Right right right right the end. But yeah, there's like
a grounding piece of them that, like.
Speaker 2 (31:45):
The younger people in this storyline grounded in this movie.
Speaker 1 (31:48):
Yes, yes, yes, yes, speaking of the cannibalism, yeah.
Speaker 6 (31:53):
The pies, yes, the pie that grows me out more
than the bodies. I know, the pies are When Johnny
Depp is holding one of those pies and it's leaking out,
It's like, it's very funny.
Speaker 1 (32:08):
It's funny.
Speaker 2 (32:08):
That's it. I almost think was Johnny dip like too dry?
Is that why?
Speaker 1 (32:13):
Like No, I don't think so. I think he has
to be I don't think he can play yeah, Like
she's so comical that like I think he needs to
play the like the Jacqueline hide of it. But the
Where's Pies in London are great and just like a
little priest and all these pieces. But you know, PIERELLI
(32:33):
really stuck out for me as well that you liked. Yeah, yeah,
like Sash America and I loved that whole, Like the
it was very clear to me. The story was very clear, which.
Speaker 7 (32:47):
Is like most important in a movie, I think, I
mean in general, right, but like in the movie and
particularly I felt like the revenge Piece was so clear
for Johnny and like.
Speaker 1 (32:57):
I I knew what he wanted and he knew and
I was like, he's so close and the stakes were high,
and they were right, and I felt like driven by
the story versus by anything else, and so that was successful.
I thought, yeah, sure too. And I just thought his
perform Sasha baron Koine's performance was really good along with Johnny's,
and so I think they complimented each other really nicely.
Speaker 2 (33:19):
This feels like Harry Potter and Lames Mashup, I.
Speaker 1 (33:22):
Know, so weird, right, Yes, definitely, definitely. So it's just
very strange. It made me want to watch The Miz,
which I famously hate. Interesting I hated that movie. I
don't think I hated it as much as Here's the Thing, though,
lame Is is one of my favorite musicals. So like, put
(33:43):
a paperbag over my hat with one eye and I'll.
Speaker 2 (33:45):
Watch this movie and really, like you have experience of
seeing these on stage. I haven't seen any of these
things on stage. So I think when my first interaction
with le Miz is seeing the movie.
Speaker 1 (33:59):
No, yeah, fair, No, it's not fair, that's Chicago, because
that movie's I feel like that's a lot of people though, yeah,
that's the truth. Is like a lot of people's introduction
to these are the movies, and like that to me
is like, oh, we need to get it right then.
Speaker 2 (34:13):
Exactly, that's what That's what sucks because then it makes
me mean, like I don't ever want to go see
the Stage show because.
Speaker 1 (34:18):
Yeah, like that movie was terrible. I what did you
think of the End of the Woods Musical, the movie
you remember? I remember I auditioned for it.
Speaker 5 (34:29):
Yeah.
Speaker 1 (34:30):
I was curious because I didn't that similar time. Yeah, okay,
that one.
Speaker 2 (34:34):
I thought they really did not get right. We're gonna
watch it though.
Speaker 1 (34:39):
We're definitely gonna watch it.
Speaker 2 (34:40):
Because again, I haven't seen that since it came out.
Speaker 1 (34:46):
Hey, it's Wilfred Dell and Sabrina Bryan.
Speaker 8 (34:48):
From the podcast Magical Rewind and we have a very
special guest on this week's episode. He's the mastermind behind
some of your favorite movies like hocus Pocus, Newsy's, The Descendants,
and of course High School mus Yes, it is the
one and only a living legend director Kenny or Tega.
Speaker 9 (35:05):
We sit down with Kenny to talk about his incredible
career and the legacy he's created with his choreography and films.
Speaker 2 (35:11):
You seriously will not want to miss this one.
Speaker 9 (35:13):
Listen to Magical Rewind on the iHeartRadio app, Apple podcasts
or wherever you get your podcasts.
Speaker 10 (35:18):
Hi, it's Jenny Garth, host of the I Choose Me podcast.
This week, I'm so excited to welcome my friend Gabrielle
carteris the Andrea Zuckerman from Beverly Hills nine o two
on OHO to the pod.
Speaker 5 (35:31):
We're choosing to get real.
Speaker 6 (35:32):
I applied to the networks about my age and contracts.
Speaker 5 (35:35):
They never would have hired me if they had known
my age. We're choosing to be honest.
Speaker 1 (35:40):
She looked at me, and she said, this business is
about mask which you have.
Speaker 5 (35:43):
Neither of, and we're choosing to get nostalgic.
Speaker 10 (35:45):
Listen to I Choose Me on the iHeartRadio app, Apple
podcasts or wherever you get your podcasts.
Speaker 1 (35:54):
Okay, let's talk about some of the music.
Speaker 2 (35:58):
Oh well, okay, if we're gonna talk with me music
real quick, let me get on my high horse again
and talk about how they recorded them vocals.
Speaker 1 (36:07):
Oh yeah, tell me.
Speaker 2 (36:09):
It's like, guys, what are we doing here? There's so
much tune on their voices. Yeah, where again, we got
to figure something out. This is two thousand and seven,
so it's almost twenty years ago. Like, I get it, yeah,
but you know they it sounds like they pre recorded
everything is what it sounds like.
Speaker 1 (36:28):
But that's definitely right.
Speaker 2 (36:29):
Yeah, But then again that creates like the Glee thing
where you have a vocal that sounds vastly different than
the talking, which is fine if that's what we're doing,
that's what we're doing, right, But then you have things
like Wicked where they're singing live and again because the
mics aren't good enough if how we're recording it, there
(36:51):
is still a difference in tone of how we're doing this,
where it just and they're all getting pitch ficks after
the fact regardless. Right, So I'm like, I don't know
what the solution is because it all sounds not great
to me, and like you have these people start singing
and you're singing. I think that I think the issue
is especially with something like sound time, Like if you're
(37:15):
doing music like we were doing on Glee, like pop
music or rock music, I think it's easier to get
away with doing autotune or melodine because like that's how
those songs actually sound. Anyway, when you are doing musical theater, right,
when all of a sudden you have there's a a
quality in the recording and you may not even realize
that when you're listening to it. But like Glee, we
(37:35):
didn't use autotune. We used melodine, which is more precise,
but there is a vocal quality.
Speaker 1 (37:41):
Yeah, sound tone like a yeah.
Speaker 2 (37:43):
So like you know, when like T Pain uses auto tune,
he's intentionally using it that heavily, so it sounds like that.
But when you use it on different like let's say
that's turned up to one hundred, right for T Pain.
You can use it anywhere from one hundred to one percent.
So there is a wide range of how these things
can sound, and like in this movie, it was like
(38:05):
on some of them it just almost sounds electronic. When
you start robotic robotic, like why why just do another take?
Get the vocal better. You don't have to use it
as much because then it takes you out of it
and then they go back to speaking and dialogue sometimes
doesn't need to sound electronic. Yeah anyway, Okay, I'm done.
That's why I rant interesting. But that's not even just
(38:28):
for this movie. That's for literally every musical movie maybe
except Chicago.
Speaker 1 (38:35):
Well lame as they did live But are you talking
about like afterwards. Okay, all right, so the music, what
were the standouts for you? We can't create all these performances.
There's about a hundred, but I really liked. Uh. Obviously,
Pretty Women was a highlight.
Speaker 2 (38:56):
Pretty Women was excellent. I loved I loved Pretty Women.
Speaker 1 (39:00):
Joanna is A is a fan favorite. It is overdone,
but a fan favorite for lots of young men in
the musical theater world.
Speaker 2 (39:09):
I thought Perelli's Miracle Elixir was also really great.
Speaker 1 (39:12):
Mmmmmmm yeah. Jamie Campbell Bauer very good.
Speaker 2 (39:17):
Yeah, he's always good. Also, shout out to him for
like carving out a full lane and like dark things.
Everything he's in is dark, Like I see what you mean.
Like literally everything he's in it has the same darkness
to it. But he's like this blonde pretty boy.
Speaker 1 (39:38):
We love that.
Speaker 2 (39:39):
We love that he's a sweet man.
Speaker 1 (39:42):
And then obviously not while I'm around, which we love.
Speaker 2 (39:44):
Oh it's beautiful. Yeah, I mean I liked so much
of this music. I honestly couldn't even tell you which
song is which song?
Speaker 1 (39:54):
Yeah, well that's it right. The whole thing felt very memodic.
Speaker 2 (39:58):
It all flows one into the other. And yes, yes,
there's nothing that stuck out to me. I was like, ugh, next,
hm hmm, interesting did you not.
Speaker 1 (40:08):
Feel some of them? Maybe it's also that I've heard
these so many times, but I'm like, not this song again, right,
like Greenfinch and len It Burgh. I just like, I've
heard this one hundred times. It's it's overdone. Like all
these songs are overdone. So I just feel like sometimes
I hear them over and over again, I'm like, oh,
(40:29):
not this overdone song. It's kind of like it's a
little similar, but not for me personally, but like on
my own You're like, I've heard this one hundred times, right,
like you know the song so anyway, but.
Speaker 2 (40:40):
As a little priest when she's talking about actually making
the the meat pies for the first time with the humans.
Speaker 1 (40:46):
Oh yes, yes, yes, a little priest.
Speaker 2 (40:49):
That was great. I thought that was really priest.
Speaker 1 (40:52):
That's her big song, like you know, her famous song.
Speaker 2 (40:55):
Yes, really fun.
Speaker 1 (40:57):
Go look and watch Angela and very do that. Yes,
it's perfect. Let's do some tarty cakes. Okay, cringe moments.
Speaker 9 (41:08):
I mean.
Speaker 1 (41:10):
This is very heavy on a lot of things that
are just you know, there's rape heavy. Yeah, heavy, like
that was crazy.
Speaker 2 (41:19):
A sex party at the Judge's house and then he
just rapes this woman with everybody watching.
Speaker 1 (41:24):
Yeah, I would want revenge.
Speaker 2 (41:26):
That was the most disturbing part of the entire thing,
Like her screams Now, that was really like, oh, I
was expecting murder.
Speaker 1 (41:34):
We went there.
Speaker 2 (41:37):
But it goes with the theme of the movie, like
everybody's bad. Everybody it's still cringing.
Speaker 1 (41:42):
Yeah, dance move. I don't know, there wasn't anything.
Speaker 2 (41:46):
It was the shaving.
Speaker 1 (41:47):
Yeah, yeah, yeah, yeah, the shaving of it all. That
song not while I'm around, I think.
Speaker 2 (41:54):
Yeah, that song is just that comes on. You're like
that melody feels like you've known it for forever.
Speaker 1 (42:00):
Yeah. Yeah, And even if it's overdone, it's still Yeah,
it's like no one is alone. It's that that sentiment. Uh,
that's performance by a prop obviously, the ras, there's quite
a few, the razors, the meat pie, I.
Speaker 2 (42:15):
Think all of the dead body parts. Carter opens the
chest and sees Sasha Baron Cohen dead and she's like,
oh my god, what is wrong with you? Then he says, well,
he threatened the black Man and she's like, oh, well
in that case and then opens it.
Speaker 1 (42:29):
Again or the hand of the case. Yeah, best line.
Speaker 2 (42:37):
It's not even necessarily a line, but it's that moment
where they showed Judge Turpin sentencing somebody to death by hanging,
and it's the little boy and they're leaving. It's like,
what did did he actually do it? Like, well, hasn't
everyone done something too.
Speaker 1 (42:57):
Juan, I've never had dreams, only nightmares. Chilling performance MVP,
that's actually difficult. I'm going with Alan Rickman. I mean,
obviously Johnny and Helena.
Speaker 2 (43:17):
Yeah, I mean they really did you know.
Speaker 1 (43:21):
They did that? That's tough. Yeah, it's a it's a
big load to carry.
Speaker 2 (43:26):
Yeah, they and they acted out of it.
Speaker 1 (43:30):
Yeah.
Speaker 2 (43:30):
So I don't know, I don't think there were really
any weak points in this cast. That's hard. Yeah, I'll
go Johnny and Helena. Okay, should we found a TikTok? Jenna?
Speaker 1 (43:41):
Okay?
Speaker 2 (43:42):
This is great. And there's a whole series of videos.
So Sam Miski's oh my God post a video of
when twelve SIU Silvesters run to make their karaoke reservation
and everyone in subway cheers them on. It is so good,
has almost a million likes, has millions of views, and
(44:05):
then it's them running underneath that and there's se Sylvester
costumes and it shows when I actually there's one dressed
as Will and they actually get to karaoke and they're
singing to each other. It is wild and I wish
I saw that just run past me. I don't know
what I would do, but these people clearly are not well,
(44:29):
but I think.
Speaker 1 (44:30):
That, Oh my gosh, so good. I would love to
see twelve s Sylvesters running through the subway. Yeah. Any okay,
coming up you guys. So your assignment for next week
is one of his mine came WHOA? What's one of
(44:50):
mine and Kevin's favorite movie musicals of all time? Uh?
It is the one, the only Mula Rush. I'm could
not be more.
Speaker 2 (45:01):
I don't know why this feels like a Christmas movie
to me.
Speaker 1 (45:04):
It does, doesn't it It's not though it's just her
red dress, but I feel.
Speaker 2 (45:09):
Like it's the lights. There's winter at some point.
Speaker 1 (45:11):
In it, right, it doesn't matter. Yeah, well, it's all
like the Mulon Rouge is in lights, but it's you
know what, It's special and it feels appropriate. It's like
a little Christmas gift to ourselves that we're watching Mulon Roue.
So you guys, go watch Mulan Rouge. It's it's the
one the only.
Speaker 2 (45:26):
Made me gay. You and McGregor and Mulan Rouge made
me gay. It's his fault. I caught it. I caught
the gay watching this.
Speaker 1 (45:38):
Oh my gosh, no better film, all right, you guys,
So come back and watch that with us, or talk
through it with us and watch it beforehand.
Speaker 2 (45:47):
Yeah, and that's what you really missed. Thanks for listening,
and follow us on Instagram at and that's what you
really miss pod. Make sure to write us a review
and leave us five stars. See you next time.
Host
Jenna Ushkowitz
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